Bingham Willoughby: Press

BINGHAM WILLOUGHBY

Bingham Willoughby decided to take full responsibility for his new solo CD, so he left the big city of Toronto and moved to the country where living is easy, and began work on Maybe Not Today, Maybe Tomorrow. An impressive collection of songs, Bing played all the instruments as well as producing, engineering and even the CD artwork. He is related to the poet Richard Lovelace, a seventeenth century Cavalier and metaphysical poet.

"Sweet Talk", the opening track will be the next Lou Reed hit if he gets to it first. The tracks are adventurous, brutally unleashing a lot of backed-up self-examination that comes across as playful rather than self indulgent. I like the drumming and I am a harsh critic of beating on plastic with trees by nature.

"Evil Words", "My Swan Song", "Little Cloud", "And Happiness", "Fall Now" and "Hurry Up Comfort", all showcase Bing's voice as an instrument suited to his writing which may very well be the most divisive component of his music. "When You're Up You're Up", "Amber", and "Friends", is so clearly Bing, providing such a specific kind of pleasure, that it might as well come with a trademark symbol attached to each line.

"What If You'd Chosen Me?", "The North Light" and "Some Will Build" are some of my personal favorite tracks; exceedingly diverse: moodwise. It is alternately, romantic, personal, rocking, and epic, with each mood individually represented by its own melodic approach, lyrical imagery, and vocal delivery. "When Is Long Enough" and "It Happened By Chance" are equally involving and intriguing with poetic imagery that brings to mind Dylan in his many diverse and always creative early stages.

The guitar work and production is reminisent of JJ Cale and Neil Young on several songs in this new batch, and since few artists have made such a virtue out of minimal arrangements, Bing is sitting pretty. Cale is all about less is more, too. Cale's only advice to me when I joined up with him was, the licks I didn't play would be the best licks I would ever play for him.

"After The World" is the closing track. Honest, inspired and the emotional climax of Maybe Not Today, Maybe Tomorrow. Bing has a great beginning with this groundbreaking work. And I can tell you he has a great sense of humor and is passionate about his craft and it shows. I am a fan and give this CD a 5 drumsticks up! A truly gifted Canadian songwriter and my new golf partner. That's only if either of us ever learn to play. FORE!

Your new album is called Maybe Not Today, Maybe Tomorrow, are you a big procrastinator or is there another significance to the title?

On one level, you could say that there is a slight essence of procrastination, in the title. But my intentions, speak to more of an anticipatory feeling–as if you might say, “maybe not today, maybe tomorrow…but soon.” I wanted the title to evoke an impression, more akin to having overheard a snippet of conversation, versus some grand mission statement. And on a personal note, I think I’ll answer the question of being a procrastinator, a little later on…

You have a new video out for your song “What If You’d Chosen Me” what is the significance behind all of the nature shots?

The concept for the video was to explore the interaction between the idea of traveling and the various surroundings you’ll encounter. The traveler responds to these situations, and yet what he sees remains unchanged. The viewer is the traveler. The various natural and urban backdrops are silent witnesses. The notion of looking through moss covered branches, points to a starting point for reflection. The traveler is then confronted with images of the guitar scuttling across the forest floor, a snare filling with sky, and Spanish moss springing to life to try on a Da Vinci shirt. The images from nature; the swaying flowers and trees all asking, “What If You’d Chosen Me?” Humans are moving and nature is moving; these images reflect the song’s sentiments: “I don’t know if I’ll ever have the strength to plan again. Say what you have to, you can’t stop this from happening.” We’re asking the questions and searching for answers–in moody, mysterious nature.

If someone were to play Bingham Willoughby in a movie, who, dead or alive, would you want that actor to be?

It might sound like a funny choice, but Orson Welles. Not just because, I like his acting, but mostly because I credit him with performing one of the most bizarre musical numbers, ever committed to film (in Citizen Kane). In fact, some day I’d love to do a shot by shot remake of it, for one of my songs. If I was forced to choose a living actor, I’d have to say Philip Seymour Hoffman (currying favor, with the interviewer).

Your music sounds very reminiscent of Lou Reed, is he an influence of yours? Who are your other influences?

I definitely feel indebtedness to Lou Reed and The Velvet Underground, and certainly, some of the ways I approach song writing are heavily influenced, by what I perceive to be some of their methods. In particular, I’ve always been a huge fan of Reed’s ability to manifest, not only evocative images, but also real emotional urgency. Any writer, who wants to try and speak “of the moment,” owes Lou a debt. In terms of playing, I think any person who utilizes, at times, a reductive approach when playing and ranging, also owes a debt to The Velvet underground.

I have a lot of other influences. Just a few, off the top, would be: The Smiths (Johnny Marr), Lloyd Cole and Neil Young. Even Rockabilly greats, like Eddie Cochran are an influence. When it comes to lyrics, I’m drawn to that turn of phrase that resonates. In my own listening it’s something I always look for, and I’ve discovered it in many varied sources, from Cole Porter to The Shins. I’m always looking out for something that entices me.

This album was truly a solo project, from the music, the recording, and the lyrics; what are the best and worst parts of recording an album alone?

The best part about recording alone might in some ways be the worst part as well. If you have an idea, you can implement it, without consultation, somewhat streamlining the process. However, you also can’t benefit from several great ideas being offered at once, and then crystallizing into one grand idea. That is one of the huge benefits of a group process. The solitary approach fit perfectly, for the way I was feeling about this group of songs. Additionally, from a musician’s standpoint and recording standpoint, there are times when you are actively seeking this form of challenge. You’re trying to make the correct decisions that are going to be right for the songs.

You look like a mixture of Philip Seymour Hoffman and Andy Warhol, what is your favorite Hoffman movie and Warhol piece?

I’ve never been compared to those two people, at the same time before, though I do see the resemblance. I’m a huge fan of both of them, to tell you the truth, so I gladly take the compliment.

I’m a fan of Philip Seymour Hoffman. He’s definitely one of the best character actors working today. I think it would have to come down to a tie between Happiness and Capote, but let’s face it, he’s great in everything he’s done (even Along Came Polly.) Todd Solondz’s, Happiness, is classic Seymour Hoffman and Solondz: equal parts compelling and disturbing. I think one of the greatest things about Philip Seymour Hoffman, is that he somehow elicits a humanity from his performances that allows us to see a little piece of ourselves in his portrayals. Songwriting, aspires to the same goals.

As for Warhol, I am a huge fan, even to the point of having made the pilgrimage to the Warhol museum in Pittsburgh, (and yes, t-shirts were purchased). 5 floors of Andy including some of his taxidermy collection. Well worth a look. As for my favorite Warhol works, I have to throw down another tie, between his Flowers series from the early ’60’s, and a sentimental favorite, Elvis 1 and 2.

…as for being a procrastinator. If I was, Maybe Not Today, Maybe Tomorrow, would have ended with the title.

Maybe Not Today, Maybe Tomorrow, the debut release from Bingham Willoughby, on Hurry Up Comfort Records, introduces us to a singer-songwriter, at the height of his craft. His songs offer us intimate glimpses into a world of hushed confidences, strived for goals, loss, and then hard-won redemption. Confessional raw emotions, intersecting with wry humor–sometimes in the same song–it’s no wonder that Bing’s lyrics have been described as “cinematic.”

Bing’s music has drawn comparisons to the Smiths, Roy Orbison, Lloyd Cole, Neil Young and the Byrds. Once being boldly proclaimed as: “Belle & Sebastian, meets Dylan.”

“The mere fact that people have compared me, to artists who I consider to be rock-poets–I just find humbling. Being told your guitar playing reminds someone of Johnny Marr or your lyrics make them think of Dylan–that makes all the hard work you put into the writing and recording, really worthwhile. The goal of every single person who makes a record is, for it to hit people on an emotional level, and when you’re presented with evidence that you’ve succeeded–it’s just very gratifying.”

The story of Maybe Not Today, Maybe Tomorrow, is a bit like one of Bingham’s songs, in that it definitely was a discernible journey; from his tenure as a rock player, to the discovery of the challenges and rewards of acoustic performance. When he started singing his songs, whilst self-accompanying, it opened the door to a process that was finally, fully realized in Maybe Not Today, Maybe Tomorrow. And after several beginnings, Bing, finally ended up making it truly a solo enterprise. He produced, engineered, arranged and played all the instruments on the album. This was not so much a plan, as the aforementioned evolution. He knew that, for the full distillation of this particular vision, his only avenue was to do everything himself.

“It might sound a little strange, but I felt that every aspect of this record, had to be my responsibility. That’s not to say that I don’t respect the playing of other people, because I do, but for some reason, on an emotional level–I needed to say: everything you hear–I did. It made for a more complicated process, but I knew that when I was done, I could stand back and say: at this particular time, this is the mark I have chosen to leave.”

Bing’s personal stamp is evident, in every aspect of Maybe Not Today, Maybe Tomorrow, from the chiming guitars, to the subtle brushwork and the atmospheric keys. You can tell it’s the undiluted vision of one very creative person.

Maybe Not Today, Maybe Tomorrow, evokes memories of musical sounds from the past, from the warm, enveloping bass guitar to the otherworldly, bell-like tones of the Rhodes piano. When combined, with the sound of his finger style acoustic, the production echoes a lot of great retro touchstones, while reworking them all into what can only be described as a modern sensibility. When all this is fused to Bingham’s, at times, literate, lyrical preoccupations, the end result provides the listener with a thought-provoking and evocative musical experience. Some have equated listening to Bing’s songs, as feeling like they are being told secrets. The secret being told is, that there is music and poetry dwelling, in our everyday experience.

“I strive in my lyric writing, to achieve a ‘conversational’ tone, because I think what’s valuable and meaningful, comes from what happens between people in these; their unguarded moments. I think of my songs as a dialogue between myself and the listener, I’m trying to present some of my unguarded moments and communicate through them. I place the utmost value in what the listener interprets the songs to mean. I don’t feel that anything poetic, ever has an absolute concrete meaning. I really feel that people’s impressions can, and often will–alter over time, and if something resonates–it will transform. I want the listener to arrive at their own conclusions, and I place the greatest value on what people evoke for themselves. I get a thrill from finding out what people take from my songs. At times I’ve been so surprised and delighted at what someone has taken from a song it transforms me a little. I’m just telling some stories. Not every story needs a ending.”

For more information, please visit Bing’s site at:www.binghamwilloughby.com

You can check out Bing’s video playing at our studio at:http://www.livestream.com/flipsidetomusic

Take a road trip with Bingham Willoughby

If you’re wondering, no a Bingham Willoughby is not a kind of animal that hangs in a tree in Australia or something. He is actually a singer/songwriter and part Lou Reed.

Bingham’s latest album is Maybe Not Today, Maybe Tomorrow and is the kind of album that is made for long road trips when you’re driving alone through the desert or along the coast or some other expansive doldrums of your choice.

These arent’ traditional pop songs in any way. Bingham ignores most traditional structures and the songs just sort of melt together one song smeared into the next with melodies that are all in the same family. This is moody pensive music with a Velvet Underground twinkle and maybe some Belle and Sebastian.

And funny that this album is made for journey’s because according to Bing (yea, I’ll use nicknames if I want) the album was like a journey. But how could it not be? When you undertake the whole recording and writing process alone, like Bing did, it’s bound to feel like quite a pilgrimage.

At the end of the day, that’s what this album is. It’s a roaming and exploring of sorts, with the explorer giving insight into the whole thing. A conversation if you will that reveals something deep and secretive.

"A fantastic new artist from Canada who’s music can be likened to The Smiths or Neil Young, or any of the great folk performers and song-writers you can imagine – yet somehow he doesn’t sound like anything you’ve heard before. A truly original artist with an eclectic style and feel, who can weave stories with the finest detail and bring you on some very beautiful sound scapes."

Another week, another show full of some fantastic new music! This is the show dedicated to bringing you the music of Perth, Western Australia but not today. Today I’m shifting focus to an international artist called Bing Willoughby. He’s a fantastic new artist from Canada who’s music can be likened to The Smiths or Neil Young, or any of the great folk performers and song-writers you can imagine – yet somehow he doesn’t sound like anything you’ve heard before. A truly original artist with an eclectic style and feel, who can weave stories with the finest detail and bring you on some very beautiful sound scapes. I feature two of his songs this week, but will be giving his new album “Maybe not today, maybe tomorrow” a good playing thorugh out next year.

Maybe Not Today, Maybe Tomorrow, the debut release from Bingham Willoughby, on Hurry Up Comfort Records, introduces us to a singer-songwriter at the height of his craft. His songs offer us intimate glimpses into a world of hushed confidences, strived for goals, loss, and then hard-won redemption. Confessional raw emotions, intersecting with wry humor--sometimes in the same song--it's no wonder that Bing's lyrics have been described as "cinematic."

Bing's music has drawn comparisons to the Smiths, Roy Orbison, Lloyd Cole, Neil Young and the Byrds. Once being boldly proclaimed as: "Belle & Sebastian, meets Dylan."

"The mere fact that people have compared me, to artists who I consider to be rock-poets--I just find humbling. Being told your guitar playing reminds someone of Johnny Marr or your lyrics make them think of Dylan--that makes all the hard work you put into the writing and recording, really worthwhile. The goal of every single person who makes a record is, for it to hit people on an emotional level, and when you're presented with evidence that you've succeeded--it's just very gratifying."

The story of Maybe Not Today, Maybe Tomorrow, is a bit like one of Bingham's songs, in that it definitely was a discernible journey; from his tenure as a rock player, to the discovery of the challenges and rewards of acoustic performance. When he started singing his songs, whilst self-accompanying, it opened the door to a process that was finally, fully realized in Maybe Not Today, Maybe Tomorrow. And after several beginnings, Bing finally ended up making it truly a solo enterprise. He produced, engineered, arranged, and played all the instruments on the album. This was not so much a plan as the aforementioned evolution. He knew that, for the full distillation of this particular vision his only avenue was to do everything himself.

"It might sound a little strange, but I felt that every aspect of this recor, had to be my responsibility. That's not to say that I don't respect the playing of other people, because I do, but for some reason, on an emotional level--I needed to say: everything you hear--I did. It made for a more complicated process, but I knew that when I was done, I could stand back and say: at this particular time, this is the mark I have chosen to leave."

Bing's personal stamp is evident, in every aspect of Maybe Not Today, Maybe Tomorrow, from the chiming guitars, to the subtle brushwork and the atmospheric keys. You can tell it's the undiluted vision of one very creative person.

Maybe Not Today, Maybe Tomorrow evokes memories of musical sounds from the past from the warm, enveloping bass guitar to the otherworldly, bell-like tones of the Rhodes piano. When combined with the sound of his finger style acoustic, the production echoes a lot of great retro touchstones while reworking them all into what can only be described as a modern sensibility. When all this is fused to Bingham's at times literate, lyrical preoccupations, the end result provides the listener with a thought-provoking and evocative musical experience. Some have equated listening to Bing's songs as feeling like they are being told secrets.

"I strive in my lyric writing, to achieve a 'conversational' tone, because I think what's valuable and meaningful comes from what happens between people in these, their unguarded moments. I think of my songs as a dialogue between myself and the listener; I'm trying to present some of my unguarded moments and communicate through them. I place the utmost value in what the listener interprets the songs to mean. I don't feel that anything poetic ever has an absolute concrete meaning. I really feel that people's impressions can, and often will, alter over time, and if something resonates, it will transform. I want the listener to arrive at their own conclusions, and I place the greatest value on what people evoke for themselves. I get a thrill from finding out what people take from my songs. At times I've been so surprised and delighted at what someone has taken from a song; it transforms me a little. I'm just telling some stories. Not every story needs a ending."

How do you describe your music to people?

When people ask me to describe my music, I usually just say that I'm a solo, acoustic, singer/songwriter. My music is acoustic based and incorporates some slightly retro, but also what I feel are, contemporary sensibilities. I don't spend a lot of time defining it for myself. I get a lot of comments about its “unique” style. I made an acoustic album, the way I felt it should sound. I wasn't thinking about genre or what musical designation it should have. Thankfully, I've had a very positive response, so many of my creative decisions have been validated. At the time, it felt like I was taking a chance, but it seemed important to keep a few of my idiosyncrasies intact. As for the all important “genre thing” that's happening now, I guess I'm straddling a few genres, and I actually like it that way! I've been told by people, that I remind them of artists as wide ranging as Belle & Sebastian, Bob Dylan, The Smiths, Lloyd Cole and Lou Reed. Someone even told me that I reminded them of early Joni Mitchell. I don't spend a lot of time figuring out who I sound like, as people are happy to share their opinion and I've been surprised more than once. I get a kick out of it. Lyrically, I try to tell stories that make you feel like you've dropped in, in the middle of a moment. I'm happiest when I feel I've been able to evoke a moment or an impression, as if you've been privy to a stray piece of conversation.

Tell me about how you originally got into your craft, Bing.

I can't remember precisely why I wanted to play an instrument, but there was something about the guitar that appealed to me then, and still does now. This is mildly deconstructionist, but I began writing songs because I wasn't great at figuring out other people's tunes. So as a young player, with limited abilities, I took a slight short cut and just tried doing it myself. I assure you, it wasn't a grand scheme. I remember it as being rather light hearted. It sort of became a part of my daily guitar practice. Needless to say, I've spent a great deal of time exploring the song writing process, since then. I'm still exploring.

What is your favorite thing to do in the whole wide world?

I possess varied interests so I've decided to narrow it down and share with you, one of my favorite things in the musical domain. It is a decidedly simple pleasure—and one that is a little slanted towards guitar players and their rituals. In a much repeated and therefore practiced show of industry, a brand new set of strings has been installed. After a requisite amount of adjustment and tuning, the moment is at hand. You play that first chord on those pristine strings. The acoustic chimes out so crisply and cleanly—to my ear, few things sound better. The moment destined to be short lived, because that "fresh string sound" lasts for a matter of minutes. In those minutes, you can remember when you did the exact same thing as a kid, and there's a chance to experience the exact same feeling you had. A sonic connection—your past, your present. Whatever is going on—paused—and you're right there. Mercifully, it's easy to recreate. I get a big kick out of it. Still.

What is your biggest challenge when it comes to running your business?

I think the biggest challenge for me (and all independent musicians) is getting your music heard. With the way the business is changing, the biggest challenge for musicians, is also the most exciting and interesting challenge. Get online; sign up with twitter, Facebook, ReverbNation, Soundcloud and itunes—and you're on an equal playing field with everyone else marketing their music online. And while you're at it, I guarantee that you'll meet a lot of really great people and hear more amazing music, than you could have ever imagined.

When you were a kid, what did you think you were going to be when you grew up?

Like most children, I anticipated a future radically further advanced technologically, than where we've ended up, thus far. When I was a kid, I imagined that flying cars, laser beams and food in pill form, would be common place! Being a musician is probably the equivalent, somehow, of whatever task I would have performed—had the future turned out the way I had envisioned it. Secret Space Agent. Laser Pilot. Mayor of Cloud City. I've come to view making music as an amalgam of all my future jobs, distilled into the present. Accompanying the distillation, there's another layer of time appropriate translation, that is the primary delivery method of the process. I thought I'd end up doing something like this. (Dramatic pause) Yes—I thought I'd end up being a musician.

In what way has your community impacted your development as a musician?

I'm answering this question in two parts. First of all, I'm not entirely sure my locale has much influence on my music, because I listen to music from all over the place. However, an argument could also be made that my environment helped shape my song writing sensibility. I'm sure some of those long Canadian winters have made their way into the music—sonically. Snowy days, are great days for practicing guitar too. That question might be in the process of being answered, as I'm definitely going to be exploring some winter imagery for some of the songs I'm planning videos for. “The North Light,” is a winter song, for one. Second of all, my musical community impacted my recording—through their absence. I don't mean to be dramatic, but when I finally got down to recording what would become "Maybe Not Today, Maybe Tomorrow," I decided I wanted to do it myself. I wanted to make a singular statement of where I was (musically) at the time, and it seemed the only thing that ended up making sense, was doing it 100% solo. I played all the instruments and produced and engineered it myself. For good or for bad, I needed to feel that I was responsible for every aspect. I didn't want to be second guessing things and when the dust settled, I just wanted to be able to say “I wanted this song to sound like this”. This is not to say that I don't value collaborations or working with others—just that in this situation, and for these songs I wanted to go it alone. It was the right decision for these songs.

What other artists out there do you love?

Like all musicians, I'm also a huge fan of music. The volume of music I've been influenced by, is simply too long a list to share. My main influences might be somewhat surprising. When I was recording "Maybe Not Today, Maybe Tomorrow," I was listening to a lot of classic American folk—primarily Pete Seeger. I wasn't, however, trying to recreate that sound, but more borrowing from that energy/sensibility. I'm a fancier of lyrics, so I tend to seek out those types of artists that have lyrics that appeal to me. I am greatly influenced by Lloyd Cole, Lou Reed and The Smiths (to name a few). I've gone through periods of listening to the Standards, and I am a fan of Rockabilly, Jazz and Punk. I've always got an ear open to catch that new phrase or melody that fascinates me. Since releasing this record I've had the opportunity to be introduced to the work of many musicians, who I've connected with online. I've been blown away by the number of great songs that people from all over the world are producing. It's truly a great time for music. If you can produce your own music, the options for releasing it to the listening public are limitless. I'm not entirely sure what phase of the "musical revolution" we're in now, but there's a lot of amazing independent artists out there, making compelling music.

What does your future hold?

As one truly never can tell what the future will bring, I tend to concern myself with shorter term situations. Currently, I'm booking some shows to support the release of "Maybe Not Today, Maybe Tomorrow." I am really looking forward to performing these songs for people. When the work for this record is quieting, I plan to make a second album. That is in the "notion" stage, at the moment. New songs have a habit of creeping up, so sometimes it's best to let them plan their own arrivals. That's one of the best things about making music, you can feel like you're being surprised on a regular basis.

The Next Bob Dylan? Introducing the Sheer Poetry of Bingham Willoughby.

In order to begin an article on this amazing singer/songwriter who hails from Canada, a writer must introduce the subject of `Bing` and explain, right off the bat, that this man is a true rock-poet. When Bing opens his mouth, the words are thought-provoking, intuitive, and, at times, almost seductive. It reminds one of Shakespeare or Keats taking pen to parchment and writing words that readers will never forget. The music and the lyrics that come from the creative mind of Bingham Willoughby and flow through his lips, become more than just songs - they actually make the listener stop and think and head into another world where peace, conversation, adventure, and introspection come into play.

Bingham`s debut release from Hurry Up Comfort Records is entitled, Maybe Not Today, Maybe Tomorrow. It is an almost difficult task to review Bing`s music because - as with his incredibly deep lyrics - a writer must make sure to use the correct adjectives that offer a full picture of this amazing performer. From rock to acoustic performances, Bing took his own journey, and literally laid himself bare for his audience. While listening to the many different songs that Bing provides, it`s as if you`re the priest in the confessional as Bing tells you his secrets with raw emotion, while still offering a wry humor to keep his audience engaged on all levels.

This is where the word master comes into play. There are many performers in the music industry who can do one thing very very well and their fans expect that one ability. Bing delivers his talent on many, many different levels, developing and performing songs from deep inside Bing`s soul to his listeners. From Bing, fans never quite know what to expect from song to song because each is highly intelligent, yet offers a variety of messages to his listeners. In fact, the songs that come from Bing`s album are almost like the listeners are watching a movie on the big screen, with all the special effects that speed up their heart rates while they wait for the climax that they know is headed their way.

Bingham is his own director of his album. He begins his journey deep inside his mind and then dons many different hats that enable him to produce, engineer, arrange and play all the instruments heard on the album - a solo project to its very core. This evolution is pure magic when you listen to the album; you can almost feel every drop of blood, sweat, and tears, as well as the laughter and contemplation that comes from Bing, with no one else`s vision intruding. Like DaVinci with brush in hand, Bingham has made his own creation his mark on the world.

In Bing`s own words he has called his music a two-way dialogue between myself and the listener. He believes in that connection that he has when he sings, and is always interested, excited and grateful for his listener`s response. People`s interpretations, conclusions, and ideas are actually a gift for Bing, as it is with all writers who wish to know how others experience the world`s they`ve created.

While his guitar work has been compared to that of the incredible Neil Young, his music has drawn reviews that place him in the same sentence as Dylan, Orbison and The Byrds. There is no way possible, in this writer`s mind, that a musician could receive better comparisons anywhere. From the guitar, to the bass, to the piano, to the provocative voice, Bing leaves no stone unturned when it comes to the masterful work that he`s invented for Maybe Not Today, Maybe Tomorrow.

Taking on the full and utter responsibility of his CD, Bing left his home in Toronto and headed for the country. There, where he was among the sounds of peace, quiet, and nature - staring at the quiet world that looks as if a master artist has created every limb of every tree, and every bit of color on the flowers that surround the paths that he walked, Bing was able to create and produce a collection of songs that are beyond impressive, and offer words and music that allow the world to enjoy the lyrics and sounds that Bing creates on his album.

The singles come to life by Bing`s intelligence and imagery. From Sweet Talk to `Fall Now`, `Evil Words`, and `My Swan Song`, just to name a few, the album showcases Bing`s many `faces` when it comes to his varied songs. From playful to romantic and fun - to the other side of the spectrum where brutal honesty, self-examination, and redemption live, Bing has created songs that fans want to hear many, many times.

The lyrical imagery is truly stunning on his tracks, and show the immense passion Bing has for his craft. He can be cavalier, charming, extremely funny, and introspective as his songs straddle many genres of music. One of his solid enjoyments is much like a writer who cracks the pages of a brand new cover and breathes in the scent of a newly published untouched book. With Bing, his favorite thing revolves around guitar players. When a brand new set of strings is installed and he strikes that first chord, Bing finds himself in a world of happiness. When he begins to strum the new strings: In those minutes, you can remember when you did the exact same thing as a kid, and there`s a chance to experience the exact same feeling you once had.

The future holds amazing things for this brilliant performer, as his fan-base is destined to grow larger and larger as more and more people find his truly incredible music. In fact, Bing`s release of five new music videos that began on March 3rd is a step that is sure to bring in even more listeners. Every Thursday in March, via Bing`s YouTube Channel, videos arrive. Per Bing`s explanation of his creative process, he says that he often visualizes a scene as he`s writing the lyrics. As far as the videos are concerned Bing says, We`re trying to create little daydreams for each song. I think we`ve succeeded."The videos were shot utilizing stop motion animation and time-lapse techniques. These imagined vignettes, are compiled of images that allude to a deeper meaning and further emphasize the dream-like quality.

Whether YouTube, iTunes, or Bing`s official website at www.binghamwilloughby.com, this is one truly amazing artist who is impossible to miss.

A poet, a singer, a remarkable writer who opens up his heart and soul and puts his intense feelings on paper, Bingham Willoughby`s amazing voice calls out to listeners and builds his fan base with each and every unforgettable song.